Electroacoustic Music Beyond Concert Performance
INTERNATIONAL CONFERENCE EMS14
10 – 14 June 2014 | Berlin | Germany
Deadline for proposals is 3 January 2014.
The concert work is still considered to be the epitome of electroacoustic music. During a work’s performance the relationships between composition and audience in time and space are defined as homogeneous – just as in the Aristotelian drama. However, since the 1960s, specific forms of electroacoustic music that challenge the possibility (or conception) of an absolute and exclusive reception have gained substantially in importance. This development resulted in concert forms of extended duration, as well as sound art and music in the media offering the listener opportunities to arrange the perceived sounds in new individual arrangements or to explore the aural space of one piece in various ways. The aesthetical positions and the practical consequences for electroacoustic music that have emerged from these specific environments shall be considered at EMS14 conference.
This EMS conference aims to discuss a number of relevant questions concerning electroacoustic music beyond concert performance among musicologists, composers and sound artists. Musicological studies in this field still lack consistent, rigorous research. Therefore, we explicitly invite papers that focus on aesthetics, history, analysis and practical issues of electroacoustic music of Extended Duration, as Sound Art/Sound Installation, as Media Music, as Conceptual Music, as Participatory Music, in the context of Happenings or extended Concert Forms.
The conference is also open to other topics relevant to histories and/or contemporary practices of electroacoustic music. Submission of papers relating to any aspect of the field would be appreciated as well, including, but not limited, to: analysis, perception, listening, terminology, composition, performance, cultural issues and education (cf. detailed call at www.ak.tu-berlin.de/ems2014).
The conference is hosted by Universität der Künste Berlin, Masterstudiengang Sound Studies in cooperation with Technische Universität Berlin, Fachgebiet Audiokommunikation and Freie Universität Berlin.
The deadline for receipt of proposals of papers is Friday, 3 January 2014 midnight EST. The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Conference languages are English and French.
Submissions can be made by uploading a zipped folder and providing the download link, or by direct email to: ems2014.berlin[at]gmail.com
A submission should consist of one pdf-document and the same as word-, odt-, or rtf-document in English with the following parts:
- the paper abstract in English (500 up to 1,000 words), headed with author name(s) and title (if any), organisation affiliation (if any), contact address, telephone, email address
- a curriculum vitae (1 page maximum)
- a list of publications (1 page maximum)
- a brief bio (up to150 words).
Organisation Committee: Fabian Czolbe (Berlin) | Dr. Julia H. Schröder (FU Berlin) | Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin)
14th International Conference on New Interfaces for Musical Expression (NIME)
June 30 * July 3, 2014
Goldsmiths University of London
Call for Participation
NIME (New Interfaces for Musical Expression) is the premier conference in designing human-computer interfaces and interactions for musical performance. NIME gathers researchers and practitioners around lectures, installations, concerts, and workshops. We are delighted to host NIME 2014 at Goldsmiths, University of London, bringing NIME for the first time to London and situating the conference within highly developed UK research networks in music computing, media, design, and HCI, and connecting NIME research to a thriving local music scene, art, and interaction design communities.
In its second decade, one can say that NIME, as a field, has “arrived.” Sensing technology is ubiquitous in consumer products like smart-phones and video game controllers. Computer-based music performance is no longer contained in specialised genres, but has become the norm in a broad range of musical styles. The success of interactive music technologies puts in question the very need for NIME to even exist.
The take-up of NIME techniques in all music causes the technology to disappear and forces us to focus on the music. This represents a double-edged sword. While the focus on musical quality is paramount, it can only be built upon foundations of solid craft and excellent science. In order to avoid re-inventing the wheel, and worse yet, repeating mistakes, NIME needs to build a legacy of reproducible results, citable references, and transferrable methods and techniques that can be transmitted to students, broader groups of musicians, and amateurs eager to engage in richer musical experiences.
New instruments and interaction are at the heart of NIME. Lutherie and composition combine to create the means to deliver compelling live performances. This is an ideal, and is more often than not, assumed. In between the science of interaction and the art of music-making are the cultural and theoretical considerations about what comprises an exciting performance.
With the theme Liveness, we draw upon Philip Auslander’s reading of this seemingly simple word as a way to look at issues of authenticity, experience, and the role that theatricality and mediatization might play in reinforcing or detracting from a successful performer/audience dynamic.
We will build upon a productive history of collaboration between Goldsmiths and Brunel University in the Brunel Electronic and Analogue Music (BEAM) festival to bring added excitement to the NIME 2014 concert and exhibition programme. We will partner with high profile venues such as Café Oto and DIY communities like London Music Hackspace to open up the NIME artistic programme to the general public and connect our research community to the thriving music scene in London.
CALL FOR PARTICIPATION
On behalf of the NIME 2014 Committee, we would like to invite you to be part of the 14th international conference on New Interfaces for Musical Expression.
We invite submission of new works in the following categories:
- Papers and Posters
- Performances and Installations
- Workshops and Tutorials
- Demonstrations and Demo-performances
- Artistic programme: Performances & Installation works
Submissions due: December 1, 2013
Review Notification: February 1, 2014
- Scientific programme: Papers, Workshops, Demonstrations:
Draft submission (mandatory): January 31, 2014
Final submission: February 7, 2014
Review notification: March 28, 2014
Camera-ready paper deadline: April 18, 2014
An online submission system will open on November 1st, 2013 and its address will be published here.
N.B. Please note that the art programme deadline this year does not coincide with the paper deadline.
N.B. Please note the new system in the scientific programme for mandatory draft submission followed by full submission. We have implemented this new system to address the perennial deadline extensions. This year, we will not offer extensions. The Draft Submission deadline corresponds to previous years’ submission deadline. On this date, the author must be registered on the online submission system and have submitted a full draft manuscript of their paper. You will then have one week (the time of prior years’ extensions) to make minor edits to your manuscript.
CALL FOR PAPERS
We welcome submissions of original research on scientific and artistic use of new interfaces for musical expression. A non-exhaustive list of NIME related topics is found below. This list is inclusive, and indicative. The thematic focus of this year’s edition is Liveness, and is described in the introduction above. We also encourage submissions that extend, stretch, or challenge the NIME topics and themes.
Acceptance criteria: The paper under consideration must propose an original contribution to NIME research; it must cite prior related work and should demonstrate rigorous research methodology.
There are three different paper submission categories:
- Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
- Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
- Demo paper (up to 2 pages in proceedings, demonstration)
Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2014. Authors of both full and short papers are greatly encouraged to submit a video in support of their paper. A video is mandatory for demonstration submission.
Review process detailed here
A best paper award will be presented to the individual(s) judged by the scientific committee to have written the best paper appearing in the conference proceedings.
CALL FOR WORKSHOPS
We invite submissions for half-day (3 hours) or full-day (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.
Tutorial proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.
CALL FOR PERFORMANCES & INSTALLATIONS
We invite submission of proposals for performances and installations. Proposed performances should have a clear connection with the substance of the NIME conference. We expand the notion of NIME in the performance programme, to include the exploration of existing interfaces into new sounds, new methods or new ways of being physical. These performances might re-insert the body into digital performance, or they might suggest new modes of performing and the presentation of live music that go beyond existing practices whilst exploiting the unique affordances of interfaces and technologies.
We encourage submissions that explore:
- Novel and exploratory use of interfaces in performance
- Both old and new interfaces
- Use of innovative, imaginative and creative methods.
We invite you to consider fully what a performance can be: you should go well beyond demonstrating the interface and we will consider any performance that is in the realm of live, electronically-produced sound, where an interface is central to the realisation of the music.
Submitted proposals will be reviewed by an expert committee. Preference will be given to submissions with strong evidence that the proposed performance has already been realized or is technically feasible and within the artists’ capabilities. We particularly invite premieres from performers with a track record, or with interfaces that have been well tested.
CALL FOR DEMO-PERFORMANCES
This year, we introduce a hybrid zone between the artistic and scientific programme by creating a new category of demonstration-performance. This is particularly apt for new interfaces and performance sketches which are still in the testing or early artistic phase. A lively demo session will allow you to set up your piece or instrument and give short performances in an unstaged setting.
- Performance proposals in conjunction with paper submissions are allowed, but each will be judged on its own merit.
- Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.
- Within reasonable limits, we may be able to provide musicians to perform pieces but this would be negotiated on a piece-by-piece basis.
- Documentation of the performances will be available online after the conference unless this is impossible due to the nature of the performance.
You should submit a PDF document, maximum 4 pages. The proposal should include the following:
- Title and detailed description of the proposed performance.
- A link to one primary video documentation of an example performance with the relevant interface. (If video documentation is inappropriate for your performance, please explain why and instead send an audio file with accompanying photographs (these do not need to be to marketing standard, they are more for explanation of how your performance will look).
- Links to any relevant supplementary supporting media files (audio and video).
- Number of performers and the instruments and technologies that will be used.
- Names of all participants/submitters, with a short bio for each (100 words).
- Details of technical requirements for the venue. Diagrams of the preferred stage setup and signal routing are recommended.
- Evidence of the feasibility of the performance. Include documentation and listings of past performances or related works that demonstrate the submitter’s capabilities to implement the proposed performance.
- A list of any equipment that needs to be provided by the conference organizers.
- Any instrumental performers that would need to be provided by the organizers. Note that the conference organizers may not be able to accommodate your request. Please also note that the organizers cannot provide funding to support performers’ travel or accommodation at the conference.
Core topics central to NIME include the following. In addition to submissions that address specific themes of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
- Novel controllers and interfaces for musical expression
- Novel musical instruments
- Augmented/hyper instruments
- Novel controllers for collaborative performance
- Sensor and actuator technologies
- Haptic and force feedback devices
- Motion, gesture and music
- Interfaces for dance and physical expression
- Multimodal expressive interfaces
- Interfaces for musical expression for hearing or visually impaired people
- Interactive game music
- NIME intersecting with game design
- Robotic music
- Mobile music technology and performance paradigms
- Biological and bio-inspired systems
- Musical mapping strategies
- Interactive sound and multimedia installations
- Musical human-computer interaction
- Interaction design and software tools
- Interface protocols and data formats
- Sonic interaction design
- Perceptual and cognitive issues
- Performance analysis
- Performance rendering and generative algorithms
- Machine learning in musical performance
- Experiences with novel interfaces in live performance and composition
- Surveys of past work and stimulating ideas for future research
- Historical studies in twentieth-century instrument design
- Artistic, cultural, and social impact of NIME technology
- Novel interfaces in music education and entertainment
- Reports on student projects in the framework of NIME related courses
- Practice-based research approaches/methodologies/criticism
- User studies/evaluations of NIME
- Language and state in live interaction
- Musicianship of new musical interfaces
Atau Tanaka (Goldsmiths)
Rebecca Fiebrink (Goldsmiths)
Baptiste Caramiaux (Goldsmiths)
Koray Tahiroğlu (Aalto University, Helsinki)
Sarah Nicolls (Brunel University)
Adam Parkinson (Goldsmiths)
Posters and demos co-chairs
Marco Donnarumma (Goldsmiths)
Alessandro Altavilla (Goldsmiths)
Special Sessions co-chairs
Marco Gillies (Goldsmiths)
Alex McLean (University of Leeds)
Jean-Baptiste Thiebaut (ROLI/Music Hackspace)
Student Volunteer Coordinators
Peter Mackenzie (Goldsmiths)
Anna Weisling (Goldsmiths)
Stephanie Horak (Goldsmiths)
Tickets are now on sale for The Cross-Media Forum, 15-18 October! Held in association with the 57th BFI London Film Festival, this is the number one event for anyone working in film, broadcast, mobile, online, advertising, publishing and the arts.
Grab yourself a ticket to The Conference (15 Oct) to hear the latest in multi-platform storytelling, audience engagement strategies and maker culture from keynote speaker Elan Lee, Chief Design Officer at Xbox Entertainment Studios plus media experts such as Nathan Hull, Digital Product Development Director at Penguin Books; Paula Zuccotti, CEO & Founder of The Overworld; Ingrid Kopp Direct of Digital Initiatives at Tribeca Film Institute. Check out the full list of speakers here.
Get the inside word on what the leading financiers and distributors are looking for at The Pixel Pitch (16 Oct) as 8 international teams present their up-and-coming cross-media projects in an attempt to win the prestigious 6,000€ ARTE International Prize for The Pixel Pitch!
Please help us spread the word about this exciting programme by sharing this information with your networks and friends – full details in the marketing copy attached.
Oslo Screen Festival is now open for entries and would like to invite artists to send new video art works to the festival’s 4th edition in March 2014. The festival will take place at the cinemateque in Filmens Hus and other locations in the city. Please read the instructions before going to the online entry form at the bottom of the page.
Deadline is November 1st 2013
Welcome to SI13: NTU/ADM Symposium on Sound and Interactivity, 15-16 November 2013
NTU’s School of Art, Design, Media is hosting a two-day symposium on Sound and Interactivity 15-16 November 2013, sponsored by the CLASS scheme of the College of Humanities, Arts, and Social Sciences. The event will be held at SADM, Singapore.
The event aims to bring together researchers, artists, and scholars working with sound and interactivity in all ways creative. Roger Dean of MARCS, Sydney, and Diemo Schwarz of IRCAM, Paris, are keynote speakers.
Submissions as Papers, Artworks, or Others, can now be made using EasyChair (https://www.easychair.org/conferences/?conf=si13), until 1 October 2013.
Topics of interest include:
- 3D audio
- acoustic ecology
- aesthetics of sound and interactivity
- AI in music
- app design
- audio games
- audiovisual installation
- audiovisual performance
- computer-assisted analysis
- computer-assisted composition
- field recording
- game audio
- haptic interfaces
- interactive art involving sound
- live coding
- music automata
- music emotion
- music information retrieval
- robot musicians
- sound art
- soundscape design
- sound design
- sound in multimedia
- visual music
20 August: 1st call
1 October: deadline for abstract submissions
10 October: acceptance results
10 November: deadline for camera-ready papers (3-6 pages) for inclusion in proceedings
14 November: pre-Symposium concert (TBC)
15-16 November: Symposium
Submissions can be made in either of three categories: Papers, Artworks, Other, using EasyChair (https://www.easychair.org/conferences/?conf=si13), until 1 October 2013. All submissions will be reviewed for scientific and artistic merit by a committee (double-blind, please blank out author names).
- Paper submissions should be 400-500 words (‘extended abstract’).
- Artwork submissions should be 200-300 words in writing and include a clear description of technical requirements. The text may include a weblink to an anonymous media source (e.g. jpeg, mp3, mov) with an excerpt of the artwork.
- Other submissions (e.g. soundwalks, piece+paper, software demo, workshop) should be 200-300 words in writing. To be considered, the scope and requirements must be clearly outlined in the abstract. The text may include a weblink to an anonymous media source (e.g. jpeg, mp3, mov) as appropriate to the submission.
Authors of accepted Papers will be invited to present at the event either orally (25 minutes in plenum), as poster (5 minutes in plenum + poster). For either, we encourage preparation of full papers (3-6 pages, template TBC) for inclusion in the proceedings.
Authors of accepted Artworks will be invited to present live at a pre-Symposium concert on 14 November (TBC). Video projection, stage presentation, and multipoint diffusion are conceivable (but cannot be guaranteed).
The registration fee includes access to proceedings and concert (TBC), as well as lunch, tea, and Symposium Dinner. Those wishing to attend but are not active presenters are asked to contribute a fee partially covering the catering costs.
Presenters: all included, no fee.
Other attendants including passive co-presenters: ~150 SGD (TBC).
Students (not presenting): ~50 SGD (TBC).
(double-blind review process; names of PC members will be released after submission deadline)
Poh Zhuang Yi